As Chris Hocking takes over at the head of ArtsEd, Susan Elkin chats to him about his background and plans for this vibrant school
There’s a cheerful new broom starting this term as the new principal of Arts Educational Schools London when Chris Hocking takes over from Jane Harrison. ArtsEd – as it is generally known – has a history of internal promotion for continuity and capitalising on the excellent expertise it already has on board. Jane was already on the staff when she became principal in 2010. Chris is already deputy principal and head of musical theatre.
That’s why Jane sits in on the beginning of my chat with Chris. She wants to say how delighted she is about Chris’s appointment and to stress that she is very happy indeed about the change. They both talk of a “fantastic working relationship.” Jane explains that she will still have some involvement with fundraising (and there’s a big project in the pipeline of which more later) and Chris says smilingly that he intends to call on her far more than she realises. Then Jane leaves and I’m left to talk to the new principal.
And that’s the first change. He has a new office – not the one next door in which I have chatted to Jane in the past. This is a bit larger, freshly painted and, crucially, has a window into the foyer. “I want to be able to see the students continually” he declares and, although he doesn’t say it, the opposite will be true too. As they move from part of the building to another the students will be able to see their principal hard at work. He clearly sees his new job as a hands on, creative role.
“Yes, and the division of responsibilities will now be different too” he says. “Jane Morton, who’s already on staff as academic manager has been appointed deputy principal and she will be next door in Jane’s old office dealing with all the accounting bodies, which have to be reported to, such as Ofsted and the Higher Education Funding Council. There are so many of these now that it has become impossible for one person to manage all of that and run the school. The new way of working will leave me free to concentrate on the creative side.”
Chris Hocking’s performing arts career began when he was a small boy sitting in his sister’s dance classes as an informal form of childcare in High Wycombe where he grew up. “I was adamant I wanted nothing to do with it myself but I used to chip in with comments when they got it wrong. Yes, I gave notes!”. He chuckles at the way things come full circle. The day before our interview he’d been adjudicating at the competitive All England Dance event as he does each year – still giving notes.
Back in his childhood of course, he did join in the dance class eventually and quickly discovered that he was rather good at it. “I was at an all boy’s grammar school too where the ethos was, ahem, rather different. They were a bit surprised when, once I’d got nine good O levels under my belt and they were talking about A levels and university I said ‘Well, actually I’m off to dance school now!’”.
He went to train with Nesta Brooking Ballet School in Marylebone High Street because he could commute. “My parents couldn’t have afforded my attending some big-name school and having to live away from home”
He soon discovered that he had other talents too. “I could sing (bass baritone) and act as well, so as a dancey boy who could also do the rest of the triple threat, of course musical theatre beckoned and I had plenty of work for the next ten years.”
Shows Chris worked in include Chicago, The Rocky Horror Show, Carousel, Chess and many more. Then when he was thirty he reached a turning point. “I didn’t want to be the oldest chorus boy in the business and teaching appealed.”
Chris had already held a teaching qualification dating back to his time at Nesta Brooking. He’d also done some directing and choreography. “I was offered a job teaching in Italy for a year in 1994/5 and that seemed like a clean break. At just about the same time I was cast in The King and I at Leicester Haymarket which was due to come into town. I said I’d do the tour but not the West End run. It was a good, positive way to go out rather than being out of work and looking for something else to do.”
After Italy, where Chris learned to speak Italian, he returned to the UK and taught part-time in various schools including Elmhurst and LAMDA. “I was full-time at Mountview from 1994 to 1999 where I really learned the ropes from the wonderful Paul Sabey – Mr Musical Theatre” says Chris. Then he went to ArtsEd where he has climbed the seniority ladder via various posts over 17 years.
And so, to plans for ArtsEd now that he’s at the helm. First up is a major building project and a lot of fundraising. “We’re thrilled with our new theatre, foyer and facilities at the heart of the building all of which have made a huge difference to what we can achieve with, and for students although, of course, it’s the teaching which makes the biggest difference not the buildings.”
He is referring to the state-of-the-art, 2013, Andrew Lloyd Webber theatre named after their illustrious and very active patron where student shows are now staged. The students affectionately call it “The Andy”. When I’ve been there I’ve noticed large numbers of residents in the audience. “Yes” says Chris. “They regard us as their local theatre and love coming here to enjoy watching the stars of the future.”
That’s why Chris and his colleagues are working closely with the Chiswick and Bedford Park Society as plans for the next phase of development are worked out. ArtsEd – including the full-time day school and the extensive part-time school – is housed in a Conservation Area 1930s Arts and Crafts building with a lot a wood and corridors. The £12m redevelopment scheme will, in three phases, build in a new studio theatre, much better rehearsal studios, a new café, new classrooms, laboratories and musical and technology facilities for the day school and more. “We want buildings which reflect our world class achievement” he declares.
“The Chiswick and Bedford Park Society want us to stay here and are enthusiastically supportive of our plans. We have a really good relationship with them.”
Chris likens “driving” ArtsEd to managing a beach buggy, as opposed to the unwieldy oil tankers which the very large and famous schools remind him of. “It’s much easier to keep on top of what the industry requires if you can make changes quickly” he says. “We’re something of a hidden gem, I think, and our specialty is equipping students with access to a really useful toolkit of skills by giving them the keys with which to unlock them.” He thinks that’s why former ArtsEd students such as Danny Mack, Danny-Boy Hatchard and Greg Austin have done so well so quickly. “Top agents, such as Curtis Brown, know what we’re about and come here regularly” he says, pointing out in passing that David Grindrod – royalty amongst casting directors – is now ArtsEd vice-president.
Of course, Chris has other new ideas for ArtsEd too, but they remain twinkles in his eye for the moment because he is not yet ready to talk about them.
It’s the middle of the summer holidays when I talk to Chris, and father of a daughter aged 14 and a son, 9, he smilingly tells me that his very fortunate children have two dads and two mums whereas many children have just a single parent. “They know exactly who has which specific skills and whom to ask for help with what “he says, adding that all six of them are the best of friends and take at least one holiday a year together.
“The kids are both pretty grounded, not in the least starry-eyed and unimpressed by showbusiness” he says telling me that nonetheless his son does a lot of singing and dancing, that he took his daughter to New York for a 13th birthday treat and that they both come to and enjoy shows at ArtsEd. “My daughter is reflective. I think there might be a lawyer in there!” he quips.
Chris is a very warm and friendly man who has many times in the past helpfully furnished me with thoughts and information about musical theatre training when I’ve needed it. On this occasion, I leave him with the usual hug and return to Turnham Green station round the corner confident that ArtsEd will go from strength to strength under his leadership.